The Effectiveness of Various Sight-reading Teaching Strategies on Instrumental Students' Ability to Sight-read and Perform the Rhythmic Content of a Musical Excerpt: an Exploratory Study PDF Download

Author: Donald M. Skaggs
Publisher:
ISBN:
Category :
Languages : en
Pages : 182

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Author:
Publisher:
ISBN:
Category : Dissertations, Academic
Languages : en
Pages : 356

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"Education, arts and social sciences, natural and technical sciences in the United States and Canada".

Author: Gregory Michael Miller
Publisher:
ISBN:
Category : Musical meter and rhythm
Languages : en
Pages : 108

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Abstract: Sight-reading, the act of performing unfamiliar music at sight, is a valued measure of an instrumentalist's musical training and overall musicianship. Though sight-reading is recognized as an important ability, little is known about the process or how best to prepare students for sight-reading situations. Previous research has suggested the importance of rhythm, finding that most sight-reading errors are rhythm errors, and rhythmic ability is often a strong predictor of sight-reading accuracy. Related research has investigated a variety of approaches to rhythm instruction, including mathematical (numbers-based) approaches and speech cue (word-based) methods. Many studies have suggested that the latter approach may be more suitable to school-age musicians, especially younger students who may lack the conceptual understanding needed to grasp mathematical models. Other research has affirmed the importance of providing students with opportunities to respond individually and receive regular feedback from their instructor. The current study employed two parallel rhythmic instruction strategies in an effort to determine their impact on middle school band members' sight-reading performance. The control group reviewed rhythms using a previously-learned numerical counting system while a treatment group reviewed rhythms using an original speech cue method and performed individually at scheduled intervals. Sight-reading pretests and posttests were scored and compared to measure subjects' sight-reading accuracy. Results showed no statistically significant differences between the two groups on the sight-reading posttest. Mean scores for all subjects, regardless of treatment grouping, improved from pretest to posttest, including significant gains on pitch accuracy and total sight-reading scores. Additionally, important relationships were found regarding the interplay between pitch reading and rhythm reading during melodic sight-reading, suggesting that these processes present two separate and sometimes conflicting tasks. Overall results and an analysis of the scores of top sight-readers reaffirmed the importance of rhythmic ability in determining overall sight-reading accuracy.

Author: J. David Boyle
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 392

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Author: Paul Harris
Publisher: Faber Music Ltd
ISBN: 0571592821
Category : Music
Languages : en
Pages : 79

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The full eBook version of How to sight-read in fixed-layout format. Do you believe that some people can sight-read and others can't? In How to sight-read, Paul Harris dispels this and other common misconceptions about sight-reading, presenting instead the idea of sight-reading as a technique that can be developed and learned by anyone. He breaks down the fascinating science behind sight-reading as well as providing practical advice and exercises that can be incorporated into both lessons and practice. The engaging activities in the book are supported by a unique accompanying web app enabling readers to improve key areas of sight-reading technique including rhythm, pattern recognition, and brain processing speed. Written to help students, parents and teachers alike, How to sight-read challenges existing perspectives on sight-reading and presents an innovative new approach to teaching and learning this vital musical skill. 'This book has elevated sight-reading practice to the next level, using a fresh, fun approach that blends solid vision, science principles, and 21st-century technology.' Debra Grant BSc (Hons) MCOptom 'Paul Harris has offered the concept that sight-reading is simply a technique that can be easily learnt by us all... This is a mustread for music students and teachers.' John Hutchins, Director Junior Academy and LRAM, Royal Academy of Music

Author: Alison Lauren Pogemiller Farley
Publisher:
ISBN:
Category :
Languages : en
Pages : 105

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Playing music at first sight involves coordination of auditory, visual, spatial and kinesthetic systems to produce an accurate and musical performance (Hayward, 2009). Accurately performing pitch and rhythm in tandem has been observed to be difficult in a sight-reading task. Musicians' rhythm reading ability has been found to be the best predictor of sight-reading performance (Elliott, 1982). It may be conjectured that stable and consistent internal pulse is necessary to perform accurate rhythms. The purpose of this study was to assess the relationship between an individual's timekeeping ability and performance on rhythmic sight-reading tasks. Fifty-three wind, string or percussion instrumentalists participated in one rhythmic sight-reading and three timekeeping evaluations in two separate sessions. The sight-reading evaluation included rhythmic excerpts that increased in difficulty as participants performed the exercises out loud with a neutral spoken syllable. The timekeeping evaluations involved silently reading rhythms and keeping steady beat with and without visual notation while tapping at specified points. Absolute deviations from the target performance were analyzed in relation to performance on the sight-reading evaluation. Participants were also asked to report any specific strategies used in performing the rhythm reading or timekeeping tasks. There was no significant correlation between the sight-reading evaluation and tests of internal timekeeping. A significant correlation was found between tasks involving rhythm reading and tasks focusing on timekeeping. Analysis of strategies indicated no difference in accuracy between participants who employed strategies and those who did not. Supplementary analyses were completed to determine possible reasons for the dichotomy of rhythm reading and timekeeping. Results suggested that participants had difficulty maintaining tempo rather than misreading rhythms or placing taps at incorrect points. These data suggest that timekeeping and rhythm reading are two separate tasks. This contradicts the initial assumption that participants who perform well on rhythmic sight-reading examples would have strong time keeping ability.

Author: Stella Tartsinis, DMA
Publisher: Stella Tartsinis
ISBN:
Category : Music
Languages : en
Pages : 15

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Instrumental Sight-Reading Development outlines strategies to improve sight-reading. Besides the strategies discussed, this guide organizes how to approach sight-reading, and how daily sight-reading practice improves the speed of learning music.

Author: James Clayton Stegall
Publisher:
ISBN:
Category : Musical meter and rhythm
Languages : en
Pages : 222

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Author: Boris Berlin
Publisher: Alfred Music
ISBN: 9781457496585
Category : Music
Languages : en
Pages : 28

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A collection of exercises for students of advanced grades in sight reading. Focuses on training the student to identify various rhythm patterns and time signatures of different melodies.

Author: Emile Schvartz
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 172

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